Friday, October 25, 2013

Nuestra Casa Project (El Paso-Cd. Juarez Chapter)
In the December 2013 issue of Reflections: A Journal of Public Rhetoric, Civic Writing and Service Learning, Guillermina Gina Núñez and Eva Moya have aforthcoming article on an art installation that raises awareness and draws attention to both TB and HIV along the El Paso-Ciudad Juarez border. The video below provides a brief overview of the project and history of the art installation.

Abstract

This case study describes the Nuestra Casa (Our Home) Initiative, an
advocacy, communication, and social mobilization strategy to increase
tuberculosis (TB) awareness that was a public art exhibition hosted at
the University of Texas at El Paso. This work describes this
multi-disciplinary initiative that cuts across academic boundaries to
engage faculty, students, and community members in service learning and
community engagement efforts. Nuestra Casa reached diverse audiences,
including school children, farm workers, promotoras (health promoters),
university students, educators, persons affected by TB, and public
health officials in Mexico and in the United States through education,
critical reflection, and a call to action.

From the "Project History":
"The genesis of the project stems from the need to reinforce advocacy,
communication, and social mobilization efforts for the prevention and control of TB
in Mexico and the U.S.-Mexico borderlands. Because communities and the persons
affected by TB must be involved and their real-life situation addressed if efforts to
combat the disease are to be effective, the project’s developers pushed themselves
to adopt a novel approach: “The Shack” installation."

Wednesday, October 16, 2013

This past week, I was in Vancouver WA for the Rocky Mountain Modern Language Association conference, and I put together a Storify of the messages posted on Twitter about the conference. They include live-tweets from panels, keynote speaker's Ray Sieman's speech about his open access book, and issues of internet access. Discussing Tweets, WiFi (in)access, and DH is very meta in a blog, and it's even more self-reflective and self-referential in a Storify of Tweets, though perhaps not for those who did not attend.

Monday, October 7, 2013

This evening, prolific scholar Terry Eagleton will lecture on "Why God for Christians is Good for Nothing," but I was fortunate to be invited to take part in a small discussion with Eagleton before his lecture for the Bannan Institute. Below I've put together a summary/paraphrase of the discussion had by members of the Santa Clara faculty with Professor Eagleton.

During the discussion, Eagleton remarked that he does not have an email and he has never read the internet, but hopefully my notes from our discussion will prove interesting for those who were unable to attend. Note: these notes and summary come from what I typed as he and others spoke, so I acknowledge the potential for inaccuracies of details. The overall tone of the discussion was collegial and friendly.

To get the discussion started, Dr. Marilyn Edelstein asked, given Eagleton's work with Marxist theory and Marx's famous critique of religion as opiate of the people, how does Eagleton explain his move towards religion?

Eagleton explained that his concern with theology was always there. He joked that it also might be "fire insurance--I'm
getting old." He also attributed his theoretical work to the era of theory ascending while left politics were also in ascent.
It was time when there was too much trust in politics. Christianity went
underground. Although politics like everything has its limitations.

As of late, he's had recurrent
work with tragedy. However, Marx's point about religion as the opiate of the people is often taken out
of context. In the context of Marx's criticism of capitalist society as a heartless world, religion as a kind of opiate was more positive. "What's wrong with a little opium?" he jested. Eagleton explained that Marx doesn't
condemn religion, he just argues that there could be a better way. Eagleton argues that in the heart of the heartless
world, his opinion is now that sports is opiate of the people. He cites Marx's daughter attending
a secular school, and Marx saying that she'd be a great deal off reading the New
Testament. Marx has little to say about the future--future is the failure
of the present. His relation to religion is a complex one.

I followed up asking how his criticism of sports being the opiate of the masses went over at certain universities in the U.S. where American football is the reason many students attend the school.

He admitted that he'd made the mistake of offending taxi drivers by criticizing
sports, a mistake he wouldn't make again.

(Eagleton, Edelstein and Phyllis Brown)

He also explained that he'd been more reconciled to the idea of death, thinking that the future was huge crowds moving towards him "mesmerized by a small electronic square." He said that he was always seeing people forever shouting boring things across from him on train, things like, "Have you got the invoices?"

Father (Fr.) Mick McCarthy, an administrator and Religious Studies faculty member asked: Could you explain your writing process because you're known for writing very quickly? And in your career looking
back--what were your significant intellectual surprises?

Eagleton said that he suffered from "hypergraphia." He said they'd finally come up with a diagnosis for his excessive writing. "I can't stop writing," he said, relating that he has three books in the pipeline while continuing to conceive of others. He enjoys writing, and that he's of the category
of people who are writers--it's not a matter of what they write, only that they
write. He said he's written for the theater and even a film script--it's artificial
the difference between creative and scholarly; what I write rather more
contingent. I'm more one who creates in the act of writing. If only
I disliked it a bit more, I might slow down and others might catch up.

Someone suggested that if he were more interested in sports perhaps he might feel less compelled to write less.

He said, being Irish, I lack a visual and spatial sense--good
verbal sense, not much visual sense, I'm always blundering around the
place.

I asked Professor Eagleton if he had a daily writing schedule so as to keep up with his writing.He responded, "I don't have a daily schedule, I can do it anytime
like combing your hair, I can pick it up and put it down again.
I don't tend to [go back and forth between projects]. I only work on one project, except for short journalism, and finish a book
at a time."

Dr. Stephen Carroll asked if he goes back while he's writing to revise as he's writing?

"No. Revise? I revise more than I used to. I'm fairly
obsessive about style. I might be the same category--to sell grandmother
for a turn of phrase."

Eagleton answered: "I write with an eye for style and then go back with
the same aim in mind. As I get older, I find myself polishing a lot
more. I might polish a whole manuscript where I might not have done
that when I was younger. Perhaps it doesn't come as right as it did before.

I suppose...I could go all the way back through
again and never feel satisfied, ...stylistically."

Dr. Marilyn Edelstein: You were critical for theory not engaging
the material world?

You wrote After Theory , when you look at that high
theory moment--did the high theory not engage enough with the real world?

Eagleton: "I think it would be a mistake from a materialist
point of view to believe that ideas can by themselves can change everything.
History is a great sorter-outer...Marxist criticism experienced the
rolling back of the left. It managed to hang on in some ways. One has
to look at theory historically. I've been a critic of post-modernism
is that it did on the whole bring theory down to earth. Post-feminism,
ethnic politics, they're much more concerned with social relations--it's
a category mistake to put textual literary interpretive methods; you
can't classify with socialism and feminism that are political movements;
in certain ways it brought these discourses down to earth."

From a Modern Language Faculty member, there was a question about French theorist.Eagleton responded:

"It's been a while since France has been intellectual
capital. I spoke with Bourdieu and Bourdieu said that hadn't been popular--he had never been asked to speak on a French
campus. Par excellence, there's a hierarchy in discourses. Derrida speaks
about art and Bourdieu counts how many people go into museum.

Towards the end of the discussion, the questions were faster and the
answers quicker; however, here are a highlight of some of what was said:"Frederick Jameson has carried on in a period when
a lot of literary critics fell by the wasteside. God clearly doesn't
like literary theorist. Not many survivors from that period."

"Deconstruction doesn't travel well. Derrida declared
many a time that deconstruction was political and not textual."

"It is the responsibility for radical critics to popularize their
work outside of a narrow audience; I had a lot of responses that came from my Literary Theory book
from people outside who wanted to know what's going on; popularizing
is an art."

Towards the end, I asked if he had recommendations for teaching writing--a question that was perhaps lost in translation as his response was geared towards creative writing as opposed to composition.

He responded: "So-called creative writing is new in Britain; after
years of snobbish in British universities, it's beginning to be studied. I suppose when I talk to
undergraduates--as though they were human beings what I always say to
them--there is one rule to writing: literary criticism is to look at
what is said and how it's said.

Generation of teachers who do not do it that way.
You read half a line a day, eight months to read a Blake poem. If a
student can talk about tone, pace and texture--better than being able
to give a decent summary of text--that's why I wrote How to Read a Poem and How to Read Literature."